#161428  by old man down
 Wed May 23, 2018 11:40 am
:wink: This post is going to show a LOT of editing over time.
This will be my crucible for tabbing all of the snippets posted above and below.
When something is reasonably correct, I'll post a bare-essence TAB below. "Just the notes, Ma'am"


Comment of the Day

Things are up to date, again. July 14, 2018 6:37 pm EDT

Posted the last TAB where it belongs and this window remains the never-ending Edit window.

Still trying to get one snippet in per day.

The good news is that this effort is currently 52.12% through the Watkins Glen Soundcheck Jam, I'm still maintaining the highest quality of note transcription I can pull off, and some of the upcoming snippets are so easy that I should be able to breeze through them.

Hoping for September or October finish date. Summer chores (cutting grass, painting house, weeding) take priority.

Once finished, I will then take on the daunting task of trying to work the snippets together as a whole, for performance coherence. (for easier flow of technique, yet each of manageable lengths for anyone else to attempt)

Still amazed at the incredible elements of technique in this single piece of music. It seems to have it all!

55 (9:39) Forceful Dr. Smith Lost in Space, bouncing around to nowhere

————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
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————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————12—14—————
————————————————————————————————————————————————————————————————————
—14—————————————————————————————————————————————————————————————————————
If there is content, other than dashes, then this is the limit. (below line; should probably go for shorter, to buy insurance)
————————————————————————————————————————————————————————————————12—14—
In the editor, the above lines are different lengths, but post the same length after being Submitted.
If the TAB is any longer, it wraps around and is therefore unsuitable. (on my MacBook Pro 15")
Hitting <Command> + — shrinks the screen appearance and things are Ok, but hit <Command> + +, and things wrap.
Will deal with this on a case by case basis, but probably always go shorter overall lengths to accommodate smaller computers.
Last edited by old man down on Sat Jul 14, 2018 3:37 pm, edited 164 times in total.
 #161429  by TI4-1009
 Wed May 23, 2018 8:08 pm
Keep up the good work! 8)
 #161469  by old man down
 Wed May 30, 2018 7:46 am
2nd Movement (continued)


29 (4:46) Settle-in, lower-mids, full command

———————————————————————————————————————————6—7(micro pause)————-———————–————
——————————————————————7—8—————7—8—7————7—8—10————————————–——————————————
—————————12\11——11————7—9——————9————————9————————————————-———————————————
—————12—14——————————————————————————————–—————————————————————————————
12h14——————————-———————————————————————————————————————————-——————————
————————————————————————————————————————————————————————————————————
Begins with a dynamic rise forward on those lush notes at 12 and 14. Then it gets a little stilted down around the 7th fret.
The micro pause is about just letting the prior 7 ring hard to try and squelch the possibly sour 6 before it.
(Jerry's first sour note?)

7——————————————————————————————————-————————————————————————————————
——8—10—7—8——7————888888—10—10—10—10 /12—12\10r—8——10—10—10—10—10r8———————–———————
—————————9——7—9—————————————————————————————————————————9—7———9—7——–———
——————————————————————————————————————————————————————————9——————9—9
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
A coherent and intuitive drop with a rise back to the four 8's (all in a row), but they get a little blurry thereafter.
The launch of the slide up to 12 is difficult to hear. The ending is a pause of sorts, setting up for the upcoming bass note triples.
A Mixolydian


30 (4:58) Trips throw around, mid-to-high, with a micro-pause end...

——————————————————————————————–——————————————————————————————
———————————————5——————————5——————7—8———7———————————–———————————
————————————————————7———————7—9—9————9————7—9—9———7—9—9——/11——————
—5—–5———5—–7———5————5—————5—————————————————————————————————————
—-5h7————5h7————5h7———5h7——–—5h7———————————————————————————————————
—————————————————————————————–———————————————————————————————
Of all the snippets I have done, this is one of the most beautiful: the technique of punctuated notes actually tabbed-out.
It is interesting that when you first try this cool technique, it resists your efforts toward mastery.
With practice it can become second nature; you might even find yourself using it where Jer did not, like at the start of the first 7 9 9.
The way to get good at it is by exaggerating the glissading over the adjacent string before the hit & hammer and the final string.
The punctuation begins with the delayed energy of the pick's travel from the initial string. The hammer then accentuates everything, like a boost, and then the forceful final note is hit extra hard for full effect.
A Mixolydian


31 (5:04) Resolution of trips throw around, setting up for flurry to follow

———————————————————————————————————————————————————————————————————
8—————————————8—7—————x——————————————————————–——————————————————————
7——7————7——7h9–9————9—7——9—8–9—7———————7————————————————————————————————
————7h9–9——————————————————————9—7—9———9—7————7–7——5—7—5—————————————————
———————————————————————————————————————10——————————7–7———————————————
———————————————————————————————————————————————————————————————————
Weir chord just prior. Garcia's notes are slightly punctuated as he moves to lower notes to set up his upcoming barrage just after this.
Hand position begins at the 7th fret, and abruptly moves to the 5th fret for the last seven notes.
A Mixolydian


32 (5:09) Exceptionally tight "flurry-up," perhaps the fastest playing of the song; blur of finesse in two different pockets

—————————————————————-——————————————————————
——————————————8—————————————————8—8—10–8–10————
——————————————7——————————7—7—9–7–9–—9——————————
——————5—5—7–5–7/——————9—7—9–9–—9—————————————————
—5—7–5–7—7————————————————————————————————————
——————————————————————-—————————————————————

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —7–778r7———–———7——78r7———–——7——————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —–—10————10—8——10—10—————10—8—10—10—8———8———————–————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————————/9—–—9—7——————–——————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ——————————————————————————————————————9—7—————-————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —————————————————————————————————————————10——9——8——
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————–——————————————————————————
When the Dorian-note gets played (8th fret, high e string) there is a pattern to the madness.
They all end incoherently here. Chaotic. Out of kilter. (Their general plan?)
Final 8 purports the extreme dissonance yet to come?
A Dorian


33 (5:19) Jer takes a break and lets the others give him a rest while he chords it

Jer
—x —x——x——x— —x— —x——x/x——–——x–—x—--—x———10—10— —10—10—––—9———7————————-———————
—5—5——5——5——5— —5——4/5————12—12——12———9 –– 9 – – – 9 –– 9––-–––8———6————————-———————
77——7——7——7——7——6/7————10—10——10———9 –– 9 – – – 9 –– 9—– —–9———7——9—7—9r7——7—9————
—6—6——6——6——6— —7——5/6————12—12——12———9 –– 9 – – – 9 –– 9—– —–x———x———-———-———9—————
—7—7——7——7——7— —7——6/7——-——x–—x—--—x – – - – x –– x – – – x –– x—– — –x———x———————-————————
—x —x——x——x— —x— —x——x/x——–——x–—x—--—x – – - – x –– x – – – x –– x—– — –x———x———————-————————
. E7 . . . . . . . . . . .. . . . . . . . . . . . E7...Eb7/E7 . . .. . . G7 . G7 . . . G7 . . . . . E7 .. E7 . . . . E7 .. E7 . . . . . A7 . . . . G7
Don’t have a clue about what Jerry was doing here, and why these chords sound so good… but they do.
It is like he fell out of bed, rambunctious from the last snippet, took one lick from the icing on the cake?

Weir
—7—7—\6——7—7—\6——7———7—7—\6——x————————————
8—8—\7——8—8—\7——8———8—8—\7——5————————————
—x—x—\x—-—x—x—\x—-—x———x—x—\x— —x————————————
————————————————————————————————————
————————————————————————————————————
————————————————————————————————————
Bobby is about to come to the fore. Here’s the first taste of his messin' around.


34 (5:34) Weir chords throw-around; Jer can just be heard lightly in background at end

—————————————————————————————————————————————
8\7/—8–\7/—8\7/—8–\7/—8\7/—8–\7/—8\7—\—88—\—7—\—4——————5————
7\6/—7–\6/—7\6/—7–\6/—7\6/—7–\6/—7\6—\—7—7—\—6—\—x——————4——-——
——————————————————-————–——————————————————————
——————————————————–——————————————————5—7——————
——————————————————–—————————————————7————–————
Weir deals with only the first 3 strings, and a little mastery of sliding around. Looks cool. Audience loves it.
Familiarity with the open D shaped-chord will serve you well. Place open D chord fingers on all 3 strings.
On this time through Weir's dyslexia tripped him up; he should have stopped at the 4th fret, not the 3rd.

. . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————————————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . 8–\7—\—5—\—3—/—5————5——8–\7—\—5—\—3–3—/—5——8\-7-7–\6——5——5——8–8—\7—5—5——
. . . . . . . . . . . . . . . . . . . . . . . . . . . 7–\6—\—4—\—2—/—4————4——7–\6—\—4—\—2–2—/—4——7\-6-6–\5——4——4——7–7—\64—4——
. . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————————————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————————————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————————————————————————————————
He made another mistake on this section, around nine notes before the end. It happens.


35 (5:48) Still Weir chord throw-arounds, here, there, and everywhere; Garcia still in background

Weir
—————————————————————–——————————————————————
5————8————10——— ———7————7————————5——5——5———–———
4————7——-——9———-———7————7———6h7—–6—4——6——4———-———
——————————————9———7——————————9———————–———————
—————————————7——7h9——7h9——7h9—————————-—————————
——————————————————————–—————————————————————
Bobby has probably changed over to the x5467x barre chord shape, and just using the index and middle.
His fills are his usual style of working the index, middle, and ring finger off an open G shaped-chord.
Very last chord is indistinct.

Garcia
1010101010101010101010101010101010\—\———
1010101010101010101010101010101010\—\———
——————————–———————————-—————————–————————————
——————————–———————————-—————————–————————————
——————————–———————————-—————————–————————————
——————————–———————————-—————————–————————————
Jer is admiring his view of the audience!


36 (6:01) Weir single notes; successive and repeated motifs

——————————————————————————————————————————————————————
—————————————-—————————————0———————————————————————————
————97——–——76——–——64———4—4—4———————————————————————————
———————————————————————6—6—6———————————————————————————
—7h9—————7h9—————7h9——–—–——7—7—7———————————————————————————
———————————————————————————–——————————————————————————
Nice, easy, little segment, here. Do the hammer-on, then hit the high note, and the lower note is hammered to "pop it.”
Weir does this technique all the time to accentuate his style of play.
For the last chord, play the open string to avoid the bright high e.


37 (6:05) Weir signature chords, as continued throw-arounds (nice); Jer just starting in at end

————————————————————————————————————————————————————————————————————
8p7h8—8–8p7h8—8–8p7—10—–8p7h8—8–8p7—10—–87—–8p7h8—8–8p7h8—8–8p7—10—–8p7–8p7–8p7——810—–7810—-0
7—–-–—7–7—–-–—7–7–– ––7——7—–-–—7–7—–—7——77—–7—–-–—7–7—–-–—7–7—–—7-–—7– –-7-––-7-—-—-7—-7——77–-7—–9
——————————————————————–—————————————————————————————————————————————9
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
Spent a lot of time on this; incredibly difficult to figure out, let alone to TAB it, but once done, it made complete sense.
Index finger flat at the 7th fret, 1st three strings, with focus on the 2nd string. Pull and hammer the ring finger, and reach with the pinky.
I had wondered about this segment forever, but it was 50% speed on YouTube (even 25%) that revealed it unequivocally.
It reveals so much about Weir’s Technique. Quintessential. Timeless. One for the ages. A must for any rhythm guitarist.
Last chord is odd, but Jer might have had a part in it. (hard to tell since he launches simultaneously)


38 (6:16) Jerry comes in with staccato notes followed by rhythm-like single notes, very fast, and then more difficult notes of random blur

——————————————————–—————————————————(tremolo picking from here on >>>>>>>>>>>>>>>>>>>>>>>>>>>)—-——
—————8——8—10–8—————8——————————————————17h16-h15h17h16-h14h16h15-h13h15h14-h12h14h13-12-12
9–7—9——9——————9–7—9——9—7————7———————–——————(12 times?)—(2 times?)—(2 times?)—(2 times?)——–——
—————————————————————9————9—7———7——7————————————————-—————————————————
————————————————————————————10——9——9—————————————————————————————————
——————————————————————————————————–—————————————————————————————————
At the 17th fret, tremolo picking — coupled with hammers, pulls, and slides — begins. It is too fast to TAB, transcription is impossible.
On YouTube, slow the WGSJ down to 50% and 25% speed to help you realize the underlying cadence, pulse, waft to the beat.
To develop technique, on the 2nd string, try descending from the 17th to the 12th fret using triplet note variations.
You have to experiment with technique to find a suitable imitation of what Garcia did. Experiment a lot!
It seems that he may only pick the string once during each of the three-note series expressed.
Triplets… slides of 3 descending notes… who knows. Jerry showed his virtuosity here.
One thing’s for sure, it is bounded by 6 frets and only lasts 7 seconds. Good luck!
A Mixolydian


39 (6:29) Garcia takes command with bright notes, still all over the place; clearly in the thick of it

Bobby
———————————————————————————————————————————————————————————————————
-----------3———3————3—————————————————————————————————————————————10—10——-———
—4—4—2—4—-2——4—-2————————————————————-—————————————————————————9—–9——–———
—5—5—–—5——–-—5————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
. . G.. G.. D.. G. . . D. . . G. . . D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A. . . A

Jer
——————————————12—14——12——————10———————————————————————————————————————
——————————12—15————————15–14———————————8p7—7————7—8——7———————————————————
———————————————————————————————9——————9——7—9—–——9——7—9—9—9p7——————–—————
—————————————————————————————————————————————————————————9————–—————
———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
Wanted to keep Jer at the 12th fret, but I think he drops down to the 789 region, preparing for the Inside Out, a delicate operation.
"These things must be done delicately… or you hurt the spell.”
A Mixolydian


40 (6:34) Beginning of characteristic Garcia note walk-up, set against Weir's forceful rhythm chops

———————————————————————————————————————————————————————————————————
—————————————7——–——7————————————————————————-————————————————————————
———67————6–7–9————9———9—7—6—7——6————6—7—99—7—9—6————————————–————————————
9——————9——————————————————9——7—9————————————-———————————–————————————
———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
This is a very easy setup… if you do it the right way. (have tried both the 4th and 6th fret positions many times)
The 6th fret is the way to go. Really, it is the 7th fret, and drop into the slot to get the 6, then return to the 7th.
On the return trip, in the downward direction, drop to get the 6 and stay at the 6th fret till the very end.
The ghost 9 is very important to keep things tidy, so pretend to hit it. (or hit it if you like; I do)
This is a very intuitive set of notes, and a hell of a lot of fun.
A Mixolydian


41 (6:40) Killer Garcia walk up; The (pronounced Thee) Inside Out of the Song

———————————————————————————————————————————————————————————————
——————————————————————————————————————————————11——1112—————-—————
—————————————————————————11——————11—12————11—12—14——14———————-———————
—11—12—14—14——11—12—14——11—12—14————12—14——————14————————————————————————
———————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————
For the Watkins Glen Soundcheck Jam, this is the Eye of the Storm. There is a peacefulness here. Very tranquil.
When I stumbled on this location, it fit with the correct tone, and also the capability to render it intuitively. It's beautiful.
One chromatic passing-tone note: the 11 on the 2nd string. Used twice; the second time with panache.
Thick, lush, notes, with strong fingers to handle them with authority. And you're well placed for what's next…
'Cause when life looks like Easy Street : The Eyewall of the Storm follows immediately!
A Mixolydian


42 (6:45) High notes resolve of movement; very dissonant as Weir plays bizarre chords to heighten the confusion; Jerry with good tone playing over the dissonance

Bobby
—-9––9––9—–––—9––9––9–—–—–9––9––9—–——9––9––9——————————————–————————————-————————
121212———121212———121212———121212—————————————————–—————————————————
—————————————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————————————
Weir has chosen to employ a Major 2nd note interval (two notes, two semi-tones apart) to add dissonance, chaos, confusion.

Jer
—————————————————————1212/14—141414——14–15—12————————————-—————————————
—12—12———12–13p12—–——12–13h15——————————————————————–—————————————————————
——————-——————14–—14——————————————————————————14—12——11———————–————————
—————————————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————————————
Although Garcia walked up through the Inside Out in A Mixolydian, he now has bloomed the rise in A Dorian.
Garcia's Mixo-Dorian scale-change, juxtaposed against Weir's dissonance: They’re through the Looking-Glass.
(Music Theory can humble you if you’re not careful; I’m already in over my head.)
A Dorian


43 (6:53) Continued dissonance, everyone getting ready to climax the movement, and Jerry just starts to end it

(a) (6:53) to (6:57)
————————–————————1512————————-————————-————————
————–————1312—————————13———————————–———————————
—11—12–1214————1412———————14—12———————12——11–11—————
———————————————————————————14—12———————–———————
———————————————————————————————15————-————-————
—————————————————————————————————————————————
Slide hand up from 11th fret to 12th fret, execute, and then drop to the 11th fret again.
An easy set of notes to remember because of the exclamatory 15 cascade down.
A Dorian

(b) (6:57) to (7:00)
———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
—11—–——1214/1616——14—1616——14—1617—16—14—1616————————————————————————————
——12—/14—————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
This is an important segment because the /16 slide up can be heard and the only other slide up alternative, the 2nd string /12, would not be coherent. Garcia wants to climax everything, he’s been heading higher, and at some point he'll crescendo with a 1st string, 17th fret note (upcoming), anyway. If this 17 note were not done on the 3rd string, then it would have to be done on the 2nd string; then climax coherence gets tossed out the window. Let’s just say that Alligator played fine on that 3rd string note, and Garcia, in general, had no reservations playing up there on the 3rd string. The only drawback here, at least on my nylon string, is the 17 comes off weak. It’s just too high up on a nylon string to ring well.
A Dorian

(c) (7:00) to (7:02)
——————————————————
———15—————15———15–17-—
—16——16——16——16——————
——————————————————
——————————————————
——————————————————
Short segment with a lot of power.
Last 2 notes set up the cascade.
A Dorian

(d) (7:02) to (7:05)
15—14——–——17—15–14————14—————————————-—————————————
——–——17–15——–——-——17–h15——17–15–14—17–15–14——12—15–14——12————
—————————————————————-—————————————————————14—-—
——————————————————————————————————————————————
——————————————————————————————————————————————
——————————————————————————————————————————————
Everything begins at the 14th fret position, and then drops down to the 12th fret position.
The h15 is because Garcia missed the note, but fingered it.
The 12 has a distinct tonal change, obviating the position.
Note the scale change back to…
A Mixolydian

(e) (7:05) to (7:11)
Bobby
————————————————————————————————————————————————————————————————————
——–14——15–14——————————–—————————14–15–17——————–—————17–15p14h15—17——————–———————
—16——16———16–14———————–————————16————————————————————–———————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————

Jer
——————————————————————————————————1412——————12——————————12——————–—————
—————–—————1214—12–15—12–14—12–15b———————————15–14h15—————————————15–14h15—15–14–12—
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
Weir and Garcia trade off lead and fills; probably giving Bobby too much credit, but he does come in stronger, next snippet.
Volume changes, and sometimes the tone, suggest Garcia couldn’t have done it alone.
A Mixolydian


44 (7:11) Drift down, tension released, mid-to-high notes

(a) (7:11) to (7:14)
Bobby
14\12—–—12————-————12———-———
——–——14——————-——————15——-——
————————————————————————
————————————————————————
————————————————————————
————————————————————————

Jer
————–———17\15–14–15r14————14—–—
————————–————————17–15——15—
————————————————————————
————————————————————————
————————————————————————
————————————————————————

(b) (7:14) to (7:16)
Bobby
14\12—–—12—-—12————————-————————
——–——14———-———15h14—15r14————–————
————————————————————————————
————————————————————————————
————————————————————————————
————————————————————————————

Jer
————————————————————————————
—————-—————17–15–14—15–14—14———-———
—————————-——————————16—16–14—16—
————————————————————————————
————————————————————————————
————————————————————————————

(c) (7:17) to (7:23)
Bobby
14\12—–—12————————————————–———————————————
——–——14———14h15r14————————————–—————————————
——————————————14————————————————————————
————————–———————14—14—14–12–11———————-———————
————————————————————-———————————————————
———————————————————-————————————————————

Jer
———————————————————-————————————————————
15—r14———-————-———17—15–14—15—r14——17—15–14—15—r14—
————————————————————-———————————————————
———————————————————-————————————————————
————————————————————-———————————————————
———————————————————-————————————————————
Have done my best to line up both Bob and Jer’s parts on this section. It's difficult to TAB the ghostliness of their work when they share same-pitch notes.
Have gone over this snippet thoroughly, even re-doing Bob's part entirely, trying to settle on what I think his position and journey would be.
Mind boggling; have always struggled with his stuff. He's so quirky.
Together, both relatively high up on their fingerboards, innately intertwined, they give the impression of dual lead guitars.
Weir is whimsical: his short little fills; Garcia is typical pattern & position.
A Mixolydian


45 (7:23) Filler chords as Weir does a few more dissonant chords; Jerry sets up by chording in background

(a) (7:23) to (7:26)
Bobby
14\12—–—12—————————-—————————
——–——14———14h15r14——————-——————
——————————————14———————————
————————–———————1414—14–12–11—
—————————————-—————————————
—————————————-—————————————

(b) (7:26) to (7:31)
Bobby
—————————————————————————————————————————————————
——–————————————————————————————————————————————12
——————————————–——————————————111111——11h12r11———-————
—11h12r11—11h12r11——11h12r11–14—11h12r11————————————————14–12—–——
————————————14——————-———————14—————————————————————
—————————————————————————————————————————————————
Finally got this done, this Weir section. Took about two weeks (snippets 44 and 45).
Once you try the TAB, experiment with the notes at various positions; very elusive.
Jer starts in with the chords, next, and will drown out Bob in a matter of seconds.
A Mixolydian


46 (7:31) Heaviness chords by Jerry, as sets of five

Bobby
———————————————————————————-——————————————————————————
—————12\10——————–——————12\10——————————-—————————-——————————
————–———h1211h12r11————14——–—h1211h12r11——————————-———————————
———————————————h14———————————————h14—12—11———————————————
———————————————————————————————————————14—12109———————
——————————————————————————-———————————————————————————
These are the last of Bob's fills. You can do his fills, then hit Jer’s E7 chords a little at the 5th fret, go back and forth between the two.
Throw in the ghost notes as they’ll help you to get the feel of Weir’s rhythmic-style fills. (They’ll get the cadence to work out for you.)
Otherwise, you won’t figure him out, though you can get close.
A Mixolydian

Jer
———————————————————————————-——————————————————————————
—5——5———5———5——5——————5——5———5———5——5——————5——5———5———5——5
—7——7———7———7——7——————7——7———7———7——7——————7——7———7———7——7
—6——6———6———6——6——————6——6———6———6——6——————6——6———6———6——6
—7——7———7———7——7——————7——7———7———7——7——————7——7———7———7——7
——————————————————————————-———————————————————————————
E7 Chord. Listen to Jer and just try to emphasize it like he did.
Real simple, very easy. Relax and have fun with it.


Bobby
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .——7————————-—————————12——12———10——9———7——12b
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .——7—————————-————————12——12———10——9———7——14b
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .——7————————-—————————12——12———10——–———7————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .——9—————————-————————12——12———-——-————9————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .——7————————————————-————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .——7————————————————-————————————————————

Jer
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .———————————————————-————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .—————5——5———5———5——5——————5——5———5———5——5——
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .—————7——7———7———7——7——————7——7———7———7——7——
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .—————6——6———6———6——6——————6——6———6———6——6——
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .—————7——7———7———7——7——————7——7———7———7——7——
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .———————————————————-————————————————————


47 (7:44) Jerry and Weir trade chords; can't be sure who hits what, but just before a single note rhythm climax that follows

(a) (7:44) to (7:49)

————————-————————10——10—--—9——9——9——7———10——10———9——9———14——14
—5——5——————–——————8—–—8———8——8——8——8—-–-—8—–—8—-–-—8——8———12——12
—7——7———7——7——6—-—-—7—–—7———7——7——9——7—-–-—7—–—7—-–-—9——9———12——12
—6——6———6——6———-———9—–—9———9——9————–————9—–—9—————–————12——12
—7——7————————————————–————————-—————————–————————————————
——————————————————-—————————–—-———————-——————————————————
These are great chords! Have combined Jer’s and Bobby’s parts together. (only two chords belong to Bobby)
Jer transitions from his powerful E7 by thinning it to its core, and then dropping it down a note on the last note.
(He's playing rhythm and just focuses into a single string; when you finally smooth out these six sets of 5 E7s, from heavy to light, for yourself… omg! :hail: )
Then he swings up to the 7th fret (making an “open D shaped” barre chord) forming a G chord, but with a pinky extension on the high e string.
He just toggles that pinky up and down a fret keeping the rest of the chord in place, and in this way he can stay there without looking.
Weir throws in a quick-two accent chords, lending a cool kinetic to everything. (G7 and quickly G)
Jerry now repeats his chord sequence, but this time around, for the chords after the pinky extension shaped-chord, he removes the barre shape and hits the G7 chord with more finesse. (three strings, three fingers)
Then Jerry follows with thee "coolest of cool" 12th fret chord, which is some sort of G chord with a dropped down high note. A brilliant tactic! (7:49)

(b) (7:50) to (7:58)

10——10———9——9———14——14———14———1414——14——14r12——14r12-—-14——14r12-—-14——14r12——14
8—–—8—-–-—8——8———12——12———12———1212——12——12—–——12—–——12——12—–——12——12—–——12
7—–—7—-–-—9——9———12——12———12———1212——12——12—–——12—–——12——12—–——12——12—–——12
9—–—9—————–————12——12———12———1212——12——12—–——12—–——12——12—–——12——12—–——12
—————————–——————————————————————————————————————————————————————
—————————–——————————————————————————————————————————————————————
More great chords! And thee "coolest of cool" 12th fret chord? Jerry let's you have it — — both barrels! . . . :thewave: :x :hail: :cool: :lol:


48 (7:59) Multi-measure single note Jerry climax, and Weir ends with boingy-boingy-boing-boing chords

(a) (7:59) to (8:01)

1717-17-17-1717-17-17-1717-17-17-1717-17-17-1717-17-17-1717-17-17-1717-17-17-1717-17-17-1717-17-16-1517-17-16-15
—————————————————————————————————–—————————————————————————————————
—————————————————————————————————–—————————————————————————————————
—————————————————————————————————–—————————————————————————————————
—————————————————————————————————–—————————————————————————————————
—————————————————————————————————–—————————————————————————————————

(b) (8:02) to (8:08)

17-17-16-1517-17-16-1517-17-16-1517-16-15——17-16-15——17-16-15——17-16-15——17-16-1514—–9————9————9—-——9b-—
—————————————————————————–————————————————————————11b—–—11b—--—11b—-—11b—
————————————————————–———————————-—–————————————–————————————————————
————————————————————–———————————-—–————————————–————————————————————
————————————————————–———————————-—–————————————–————————————————————
————————————————————–———————————-—–————————————–————————————————————
This is definitely the climax of this movement, and very possibly the climax of the entire WGSJ. Have fun with Bob's end chords.
A Mixolydian


49 (8:09) Climax is over and low bass notes are back to clue everyone to get it together again; clear Garcia take-command notes toward end

(a) (8:09) to (8:13)

—————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————
————————7/9—8—7\5——5—7——5————————————————————————————————————
—5—5—5–7————————————7——7——5—–7——5————————————————————————————
———————————————————————————7—–—75————————————–————————————
Lesh starter notes. Then Jerry from there on. Easy to hear, but surprisingly difficult to duplicate.
Although the notes are correct, listen and experiment for yourself to try to get Jerry’s cadence.
The ghost 5 (light grey) may be Lesh's since it trips up the natural, intuitive descent of things.

(b) (8:14) to (8:21)

—————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————
——————————57/9——8——7–5—7——5—————————————————————————————————
—5——5–5———5/7—————-——————7——7–5———7-5——5————————————————————————
—————————————-—————————————7————7——5———7——7——7——7—————–——————
Lesh starters, now Jerry from here on (in the middle), and then these last four 7s are Lesh's, too.
A Mixolydian

Anecdotal Comments (while working these up)

Have improved my Tabbing ability a great deal by tackling the last 28 snippets.

There's a couple of hard ones still to come… wonder what they'll be like.


One thing I didn't realize would happen when I started this, this year, is that my understanding of scales and the application of them has increased dramatically. I used to think of things as just diatonic, and stay in key for the chords that were there. But now I realize the power of incorporating several scales when the chords are either too few to pin down one scale or the chords are not full chords, but instead just partial chords, that can add flavor or colorings, and don't completely saturate the moment or segment being explored.

Not only that, but I can tell when I'm right in Jerry's footsteps, and searching and settling for technique that he also found to offer the best foot forward.

It's all good.

//

May 31st, 2018 10:31 pm EDT

Ok, have narrowed the tremolo picking (more difficult notes of random blur) to the 2nd string, 17th fret to 12th fret. The shorter width of the frets, there, allows for less slop in the flipper-fingers (index, middle, ring), which are constantly doing hammers within the tremolo. The picking hand does a little circular motion, always hitting on the downstroke, while the flippers cascade downward on the frets, as groups of three, within the hits.

//

June 4th, 2018 3:54pm EDT

Well, well, well… I seemed to have lost my way. Have spent the whole weekend trying to resolve an anomaly in my approach.

The technique error may go all the way back to the 39th snippet, at the very end of that snippet, where I'm playing the last note as a 9 on the 4th string. (It may be better as a 4th note on the 3rd string.)

As I went "Merrily, merrily, merrily, merrily / Life is but a dream." (1852/1881; origin dates) forward from there, I finally came up against a two-by-four that hit me smack across the head!

The difficulty arose when Garcia does the 40th snippet (Beginning of characteristic Garcia note walk-up) and plays a set of notes a certain way, and then later, on the 41st snippet he plays the same sequence of notes again. What I found was if I remained in the 789 frets region, with the drop into the slot to pick up the 6, for both snippets, then I couldn't turn the end of the phrase the way Jerry did, at the end of the 41st snippet. Even though I had been convinced I was in his footsteps on the 40th, in reality I wasn't.

So, I had to go forward, TAB the following snippet, the 42nd one, and see how things were evolving. When I did that, I convinced myself that the high e string was indeed played on the 41st snippet (That 1st string has a distinctive sound, all its own… very bright, yet winnowy in a good way on the lower frets; Alligator… love that guitar!) But since I couldn't turn the phrase, wind it out at the end the way he did, from my incorrect 789 frets region, I had to approach it instead from the 456 frets region. This then meant I had to do things entirely different for the 40th snippet, too, because the odds were against Jerry using the same notes, with the same cadence, almost back to back segments, from two different regions. (For him to have done it that way, he would have had to be afflicted by Cerebral Ballsy!)

Fortunately, after working on things for the last hour, from the 4th fret, I've found the exact fingering. I had been tripped up by it repeatedly at the 789 frets region (three strings and a hand shift), but it is always butter when taken on just 3 frets below on the 2nd/3rd strings (two strings, no hand shift, and intuitive beyond belief). And I've also found a way around the 4th string, 9th fret ghost note. It won't be needed anymore because there is a hand move up one fret, from the 4th fret to the 5th fret (all on the 3rd string now) that negates its necessity.

Doing the snippet at the 12th fret region solved all the problems.

//

June 9th, 2018 12:00pm EDT (Saturday)

Was starting to lose my resolve on this work yesterday because the exciting portions had just been completed.

But then this morning I realized that my problem was that the current snippet is 18 seconds long, consisting of difficult wandering. I've just listened to it several times, and it needs to be broken down into parts that are each self contained, whole in concept before the lead continues, and this will solve things.

//

July 2, 2018

Just bumped up against the 60,000 characters limit for a single post.

Will start a new reply from here on.

//
 #161798  by old man down
 Wed Jul 04, 2018 11:31 am
2nd Movement (continued)


50 (8:22) Soft tone, mid-high Jerry motif as things are coming around to normalcy; great tone

————3–5––3——2–3–2———————–———————3——3——2——5——7r5–\3—7r5—2–5r3—2—3——2–3–3/5—5–/7—b4–b4—b3–5—-—
5r3h5——5——————5–3—3—5–5—–—3———3–5———————————–———————————5——————————–——————————
———————-———————4————4–4––2–––4—————————————–————————————————–——————————————6—
———————————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————————
For this snippet Jerry's tone is markedly different, so I moved him to lower frets on Alligator. Some of the notes sound pulled-off.
Other notes sound like he was picking them close to the bridge, their tone is so electrically charged. (high e string resonance)
He makes good use of a few bends at the end.
A Mixolydian


51 (8:35) Drifting down to the end of the Movement

———————————7——–——7———————————————————————————
—7-7—8r7—7—8—9—–—8–10——10–8–7——10\r8–7——8–7——–——7————————
——–———9—————————————————————————9–h7———9—7—-——9
————————————————————————————————————————9—-——
————————————————————————————————————————————
————————————————————————————————————————————

. . . . . . . . . . . . . . . . . . . . . . . . . . . ————————————————————————————-———————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————-————————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . ——7———9———7———————————————————————-——————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . —9———9———9——9–8–7—9\7—57\—5————————————————5—7-/9—7–9—––—7h9—h9—h9—
. . . . . . . . . . . . . . . . . . . . . . . . . . . ——————————–——————————7——7———5—7—–—5—7——————————-———————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . ——————————————————————————7————7—————7—————————–—————————
Weir and Garcia are inextricably intertwined here, and you need a little from each of them to provide context.
Suffice it to say that Bobby maybe starts it and Jer definitely finishes it. Indistinct noodle at end, hammered?
A Mixolydian


52 (8:51) Jerry offering a "call" of a possible "call and response" as everything quiets down

————————————————————————————(10–10–10–10r9—9–9–9r8—8–8–8r7)——7——7————5–5———————
——————————————————————————————————————————————————10————8———5–8—–—5—
—————————————7–9——9/11———————————————————————————————————————————7——
——————————7–9—————————————————————————————————————————————————————
1010–9—10r9———————————————————————————–————————————————————————————
—————————————————————-——————————————————————-—————————————————————
Phil ^ bass ^ notes, then a Jerry riser, and after a delay, Jer is here within the parentheses, … and Bobby has the last 6 notes.
The parenthetical Jerry enclosure ( ) gets repeated twice; the first time very lightly, the second time a little more forcefully.
End of 2nd Movement (whew!)
A Mixolydian


3rd Movement


53 (9:08) 3rd Movement start; A few oodles of noodles along with other sporadic oddities and a bass note here and there

————————17\15—-—12—12—12—14——17——14–17–17–17—17–17–17–17–17–17–17–17–17–17–17–17–17–17–17–17–17–17—
———————15—————12—12—12—12——14——12–14–14–14—14–14–14–14–14–14–14–14–14–14–14–14–14–14–14–14–14–14—
————————————————–—————————————————–—————————————————–————————————————
————————————————–—————————————————–—————————————————–————————————————
————————————————–—————————————————–—————————————————–————————————————
15r14–15——————————————————————————————————————————————————————————————
Lesh for context; he undoubtedly plays these notes on different strings, lower down, but these get you in the upper fretboard region.
Garcia with light, zephyr like chords. Some more bass (Phil) comes in at the end, but I’m just focusing on Jer from here on.
A Mixolydian


54 (9:29) Oddity upon oddity, while lost in space

————————————————————-–———————————————————7———-———7———————————-——————————
——————————————————————————————7—8——7—-—7—10—10——7–10—10–8–7—10–8–7——8—7–7——7–10–10—
———————————————————————————7—9————9—-—9————————————————————9—————9——————
—————————4————4————7—9————7—9—————————————————————-—————————————————————
————4—5—7———5—7——7——————10——————————————————————————————————————————————
—5—7——————————————————————————————————————————————————————————————————
Fun roll up. (hand at 4th fret) Keith's loud 7, Jer rolls up again, while Bobby (not shown) constantly fills in with deep space encounters.
Just stay flippery with four fingers making the spread. Very cool throughout, though the last notes are somewhat indistinct.
All in all, just a few rolls with far less than 2001 noodles of A Space Oddity.
A Mixolydian